Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/336

 *lish Cottage (1828), Royal Collection; First Voyage (1833); The Last In (1835), Fair Time (1809-40), Crossing the Ford (1842); Snow Scene, Sea-shore Scene, National Gallery, London; Fight Interrupted (1816), Giving a Bite (1836), Toy-Seller (1837), Open your Mouth and Shut your Eyes (1838), Seven Ages (1838), First Love (1839), The Sonnet (1839), Choosing the Wedding Gown (1846), The Butt (1848), Blackheath Park (1852), and others, South Kensington Museum; Whitsonian Controversy (1844), Baring Collection; Burchell and Sophia (1849); Bathers, National Gallery, Edinburgh.—Stephens, Memorials (London, 1867); Ottley; Redgrave; Cat. Nat. Gal.; Sandby, i. 355; Art Journal (1864), 65; L'Artiste (1883), i. 235.

MUMMY, BURIAL OF A (Les funérailles d'une momie), Frederick A. Bridgman, J. G. Bennett, New York. Funeral procession of the sacred bull Apis, in ancient Egypt. Salon, 1877.

MUNARI. See Pellegrino da Modena.

MUNKÁCSY, MIHÁLY (Michael), born at Munkács, Hungary, Oct. 10, 1846. Real name Michael Lieb. Genre and history painter; for six years apprenticed with a carpenter at Arad before enabled to devote himself to art, which he first studied under a portrait painter at Gyula; became pupil of Vienna Academy, then in Munich of Franz Adam, under whose guidance he made rapid progress and won three first prizes; went in 1867 to Düsseldorf and, incited by Knaus and Vautier, devoted himself to genre painting, and in 1869 at once established his fame with the Last Day of a Condemned Man, one of the scenes in popular life of his native country, which for years he continued to depict with singularly impressive truthfulness and a sombre blackish colouring. In 1872 he removed to Paris, where his works found great favour; in 1876 he began to take his subjects from Paris life, and with his Milton entered upon a new field, adopting also a new method of colouring. Medals: Paris, 1870; 2d class, 1874; of Honour, 1878; Vienna, 1882; L. of Honour, 1877; Officer, 1878; Member of Munich Academy, 1881. Works: Proposal; Easter; The Bride; Last Day of a Condemned Man (1869), Mrs. W. P. Wilstach, Philadelphia; Hungarian Encampment, Wrestler's Challenge, H. C. Gibson, ib.; Dying Brigand, A. J. Antelo, ib.; Night Revellers; Drunken Tailor; Wood Landscape in Autumn; Afternoon's Luncheon; Women picking Lint; In the Kitchen; At Dawn; Wounded Honvéd; Vagabonds Seized; Artist's Studio; Episode in Negro War (1874); Village Rooster (1875); Pawnbroker's Shop, Miss C. L. Wolfe, New York; Moral of the Bottle, William Astor, ib.; Interior with Lady at Table, W. Rockefeller, ib.; Hay-Field, Erwin Davis, ib.; Widow's Mite, J. C. Runkle, ib.; Afternoon Call, M. K. Jesup, ib.; The Two Families, W. H. Vanderbilt, ib.; Peasants at Church, Hawk Collection, ib.; Milton dictating Paradise Lost (1878), Lenox Gallery, ib.; Story of the Battle, W. T. Walters, Baltimore; Visit to Young Mother (1879); Christ before Pilate (1881); Pawnbroker's Shop (1882); Christ on Calvary (1883-84); Last Moments of Mozart (1885). Munkácsy visited New York in 1886, when his Christ before Pilate was exhibited there.—Academy (1882), i. 328; (1885), i. 193; Allgem. K. C., x. 263, 374; Gartenlaube (1870), 475; Gaz. des B. Arts (1870), iv. 43; (1873), viii. 39; (1876), xiv. 22; (1878), xviii. 204; (1881), xxiii. 485-490; (1884), xxix. 509; Illustr. Zeitg. (1871), ii. 251; (1872), ii. 84; (1874), i. 175; (1881), ii. 283; (1882), i. 301; Kunst-Chronik, vi. 142; x. 643; xvi. 452; xvii. 196, 257; xix. 359; xxi. 443; La Ilustracion (1882), i. 51, 347, 402; (1884), i. 214, 228, 331, 344; ii. 67; Müller, 385; Reber, iii. 409; Zeitschr. f. b. K., ix. (Mittheilungen, ii. 52); xvii. 251.